Run: 2026-02-19-01KHT01HCWKNW3PNBMJ9BDSW7Q

Run Details

Model:
GPT-5.2
Duration:
1m 13s
Cost:
$0.053779
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The third deadbolt clacked open under Aurora’s thumb, and the chain went taut in her fist as she cracked the door a few inches. A pale hand slid into the gap before she could think better of it, fingers long, nails neat, the cuff of a charcoal sleeve spotless. “Rory,” Lucien Moreau said, as if he had left her a message and she had taken her time returning it. She jammed her shoulder into the door and shoved. The chain bit. His hand withdrew on its own, unhurried. He stood in the corridor with his ivory-handled cane angled across his body like an accessory. Like a promise. “You’ve got nerve,” she said. He looked her over with the same clinical attention he gave a crime scene. His gaze caught on her left wrist where the chain had pressed the skin above the small crescent scar, and something in his expression shifted, a flicker that did not reach his mouth. “You’ve got deadbolts,” he said. “Three. Eva’s paranoia has become contagious.” “Eva’s alive. Paranoia helps.” “Let me in.” “No.” His heterochromatic eyes held hers, one amber like old whisky, the other a clean, depthless black. He did not blink. He did not plead. He simply waited, as if her refusal belonged to him too. Ptolemy padded up behind her and released a low, offended noise. The cat’s tabby tail puffed out like a bottle brush. Lucien’s nostrils flared. “Your cat remembers me.” “My cat hates you.” “Cats hate most things. It’s their charm.” Aurora tightened her grip on the chain. “You don’t get to stand outside my door and charm your way back into my life.” “I’m not charming.” “You’re breathing. Same thing.” He leaned closer, and the corridor filled with him, the scent of expensive soap with something sharper under it, metal and smoke. His cane tip clicked once against the floor, deliberate. “You shouldn’t open doors when you don’t know who’s there,” he said. “You knocked,” she said. “Like a civilised person.” “I knocked because you would have shot me if I didn’t.” “Don’t flatter yourself.” A pause stretched. It filled with all the unsaid things, heavy and familiar. Six months ago she had stood three streets away from him, bleeding through her shirt, while he watched the alley mouth with cold focus and told her to run. He had not run with her. Aurora slid the chain free and swung the door wide enough to be a mistake. Lucien stepped in at once. He moved like he had measured the space before he entered, like the cramped flat belonged to his body already. His shoes avoided the scattered papers on the floor without looking. His cane stayed close, angled so the concealed blade could appear in a heartbeat. Aurora shut the door and snapped all three deadbolts with quick, angry hands. Each metallic click sounded too final. “You’re here,” she said. He tipped his head. “I am.” “Why.” Lucien’s gaze travelled over the flat, the stacks of books, the scroll tubes, the scribbled notes pinned to corkboard. A city of research built on caffeine and stubbornness. The air smelled of old paper, curry drifting up from the shop below, and the faint, unmistakable tang of cat. He reached out and lifted a page between two fingers, reading without permission. “Reverse Greek,” he murmured. Aurora snatched it back. “Don’t touch.” He raised one eyebrow. It made him look amused, and that irritation sparked again, sharp as a match struck too close to skin. “You’ve been busy,” he said. “I keep myself occupied. You should try it instead of showing up unannounced like some sort of… well-dressed fungus.” A faint smile cut across his mouth, then vanished. “You’re angry.” “I’m furious,” she corrected. “Angry is for people who get apologies.” Lucien’s fingers tightened around the cane handle. Ivory, polished, the kind of object meant to be held by someone who never laboured with his hands. Yet his knuckles whitened as if restraint cost him. “I didn’t come for absolution.” “You came because you want something,” she said. “You always do.” Ptolemy stalked around Lucien’s ankles, circling once, twice, tail high, then stopped in front of him and hissed. Lucien looked down. “Charming,” he said, with a softness that did not belong on him. He crouched, slow, and held out two fingers. The cat swatted him. Lucien’s mouth twitched. “Your cat has boundaries. I respect that.” “Try respecting mine.” He stood again, taller than her, shoulders squared beneath the tailored suit. The charcoal fabric looked almost black in the dimness of the flat, clean lines against clutter. He had always looked like he belonged in places with marble floors and locked doors. Not here above a curry house on Brick Lane, where the kettle never stopped and Eva collected secrets like stamps. Lucien’s eyes returned to Aurora’s face, not drifting away this time. “Where is Eva?” he asked. “Out,” Aurora said. “And before you ask, no, I’m not her secretary. What do you want, Lucien.” He exhaled through his nose. Not a sigh. A calculation. “You have something of mine.” Aurora let out a single laugh. It came out sharp. “I have nothing of yours.” He stepped closer. The space between them shrank to the width of her breath. Aurora did not move back. She hated that her body recognised him, remembered him, pulled tight like a drawn bow. Lucien’s voice dropped. “You took it from me.” “I didn’t.” “You did,” he said. “In the alley.” Aurora’s jaw clenched. “In the alley, I was bleeding. You were leaving.” His gaze slid to her throat, to the pulse there, then up again. That tiny intimacy made her skin prickle, as if he had touched without permission. “I didn’t leave,” he said. “You watched me go,” she snapped. “You let me run alone while you stayed behind to clean up your mess.” He did not flinch. He rarely did. “You ran because I told you to,” he said. “You survived because you listened.” The calm certainty of it made her want to throw something at him. Instead, she held still. Cool-headed, she reminded herself. Intelligent. Out-of-the-box thinking. Not out-of-control. “What did I take,” she said. Lucien’s hand slipped inside his jacket. Aurora’s muscles tensed. He withdrew a small square of black cloth, folded with care, and held it out. A handkerchief. Plain, unmarked, the sort of thing a man like him might carry for show. Aurora stared at it, then at him. “You came all this way for a handkerchief.” “It wasn’t plain when you took it,” he said. Aurora did not reach for it. “It had blood on it,” she said, quietly. Lucien’s mouth flattened. “Not mine.” Something cold nudged the base of her spine. “Whose,” she asked. He held her gaze. “Yours.” Aurora’s stomach tightened. She remembered it. A flash of movement, her own hands slick with blood, Lucien pressing the cloth into her palm and wrapping her wrist with a pressure that bordered on tenderness. His fingers had lingered. His voice had softened, just once, when he said her name. Then he had shoved her away. “I threw it out,” she said. Lucien’s eyes narrowed. “No, you didn’t.” Aurora’s mouth tasted of copper that did not exist. “How do you know.” “Because I can smell it on you,” he said. The words slid under her skin. Not poetic. Not flirtatious. Fact. Aurora crossed her arms. “You can smell my rubbish habits. Congratulations.” Lucien tilted his head, studying her, and it irritated her that he looked like he enjoyed puzzles. “Show me your hands,” he said. “No.” “Rory.” The way he said it sent a thin tremor through her chest. Not because it sounded sweet. Because it sounded like ownership, like he had never stopped saying it in his head. Aurora’s eyes flashed. “You don’t use that name,” she said. “You forfeited it.” Lucien’s jaw flexed. For a moment he looked less polished, more feral at the edges, like something beneath the suit pressed against its seams. “You can call yourself whatever you like,” he said. “Aurora. Laila. Malphora, if you want to be dramatic. I’ll still find you.” Her skin tightened. “Is that meant to be romantic,” she asked. “It’s meant to be true.” Ptolemy jumped onto the table behind her and knocked a pen onto the floor. It rolled, click-click, until it hit Lucien’s shoe. Lucien did not look down. Aurora forced her breath to steady. “Why are you here,” she asked again, slower this time. “Not the handkerchief excuse. The reason.” Lucien’s hand closed around the cloth. He tucked it away as if the conversation had already moved on. “Someone asked about you,” he said. Aurora’s lips parted, then shut. Her first instinct went to Evan, to bruises and threats and Cardiff phone numbers she blocked. Her second went to things worse, things with teeth. “Who,” she said. Lucien’s gaze flicked towards the door, then back to her. “A collector,” he said. “He buys favours and sells debts.” “I don’t deal with collectors.” “He thinks you do.” Aurora’s pulse quickened. “I deliver noodles for a restaurant,” she said. “If someone wants to collect my debt, they can take my student overdraft and choke on it.” Lucien’s mouth tightened, a hint of humour without warmth. “He doesn’t want money.” “What does he want,” Aurora asked, though she already knew the answer would be ugly. Lucien stepped even closer, until the front of his suit nearly brushed her jumper. Aurora lifted her chin. Their bodies held a line of tension like a wire. “He wants what you picked up in that alley,” he said. Aurora’s gaze cut to his cane, then back to his face. “I picked up trauma and a scar,” she said. “Take your pick.” Lucien’s voice lowered. “You picked up a name.” Silence snapped into place. Aurora’s throat tightened. “No,” she said. Lucien watched her like he watched doors before he opened them. “Yes,” he said. “And you’ve been carrying it around like it’s nothing, like it’s not a lit match in your pocket.” She swallowed. “I don’t know what you’re talking about.” “You do,” he said. “You read Eva’s notes. You memorised her sigils. You can’t help yourself. Smart girls always touch the hot stove just to see if the rules apply to them.” Aurora’s face heated, anger and something else, something that came too close to shame. “You didn’t come to warn me,” she said. “You came to control it.” Lucien’s eyes darkened, the black one swallowing light. “I came because he followed me,” he said. A knock hit the door. Not polite. Not human. It sounded like bone against wood. Ptolemy sprang off the table and vanished under the sofa with a growl. Aurora’s spine stiffened. Lucien did not look surprised. He looked vindicated. Another knock. Harder. The door shuddered in its frame. Aurora’s voice came out tight. “You led him here.” Lucien’s hand slid down the cane, fingers finding a hidden seam. “I brought him to a door with three deadbolts,” he said. “I didn’t bring him to you.” The wood creaked as something heavy leaned into it. Dust sifted down from the top of the frame. Aurora reached for the nearest thing with weight, a thick hardback book from the table. Her grip held, steady despite the shake in her wrist. “Tell me what he is,” she said. Lucien’s smile showed no teeth. “Persistent,” he said. “And hungry.” The first deadbolt buckled with a metallic shriek, and the door jumped inward an inch against the remaining locks. Lucien’s blade slid out of the cane with a clean, deadly whisper. “Stay behind me,” he said. The second deadbolt snapped like a gunshot.
created_at"2026-02-19T03:45:33.615Z" 2/19/2026, 3:45:33 AM
model"openai/gpt-5.2-20251211"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency15139
moderation_latency(null)
generation_time72782
tokens_prompt4556
tokens_completion3307
native_tokens_prompt4075
native_tokens_completion3332
native_tokens_completion_images0
native_tokens_reasoning677
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.05377925
router(null)
provider_responses
0
endpoint_id"f00142c2-6a93-49ce-9e36-5593b904ce3b"
id"resp_016f1ffb17a65498016996875db2e48190bd236ebbf47ea8ec"
is_byokfalse
latency174
model_permaslug"openai/gpt-5.2-20251211"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771472733-EirQqhnnv59MakrjZs2l"
upstream_id"resp_016f1ffb17a65498016996875db2e48190bd236ebbf47ea8ec"
total_cost0.05377925
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags44
adverbTagCount1
adverbTags
0"she asked again [again]"
dialogueSentences102
tagDensity0.431
leniency0.863
rawRatio0.023
effectiveRatio0.02
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1953
totalAiIsmAdverbs0
found(empty)
highlights(empty)
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
51.36% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1953
totalAiIsms19
found
0
word"flicker"
count1
1
word"charm"
count2
2
word"familiar"
count1
3
word"measured"
count1
4
word"eyebrow"
count1
5
word"marble"
count1
6
word"jaw clenched"
count1
7
word"pulse"
count2
8
word"stomach"
count1
9
word"tenderness"
count1
10
word"flicked"
count1
11
word"quickened"
count1
12
word"warmth"
count1
13
word"tension"
count1
14
word"silence"
count1
15
word"weight"
count1
16
word"whisper"
count1
highlights
0"flicker"
1"charm"
2"familiar"
3"measured"
4"eyebrow"
5"marble"
6"jaw clenched"
7"pulse"
8"stomach"
9"tenderness"
10"flicked"
11"quickened"
12"warmth"
13"tension"
14"silence"
15"weight"
16"whisper"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count1
1
label"jaw/fists clenched"
count1
highlights
0"eyes narrowed"
1"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences192
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences192
filterMatches
0"look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences250
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1949
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions47
unquotedAttributions0
matches(empty)
16.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions67
wordCount1422
uniqueNames9
maxNameDensity2.04
worstName"Lucien"
maxWindowNameDensity4.5
worstWindowName"Lucien"
discoveredNames
Aurora28
Moreau1
Lucien29
Ptolemy4
Brick1
Lane1
Eva1
Evan1
Cardiff1
persons
0"Aurora"
1"Moreau"
2"Lucien"
3"Ptolemy"
4"Eva"
5"Evan"
places
0"Brick"
1"Lane"
2"Cardiff"
globalScore0.48
windowScore0.167
38.89% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences90
glossingSentenceCount4
matches
0"looked like he belonged in places with ma"
1"looked like he enjoyed puzzles"
2"sounded like ownership, like he had never"
3"sounded like bone against wood"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1949
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences250
matches
0"hated that her"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs166
mean11.74
std11.15
cv0.95
sampleLengths
024
125
220
338
45
547
611
74
83
91
1035
1121
123
134
144
157
167
1716
183
194
2031
2112
228
2311
243
2542
266
2715
2850
2919
304
314
322
331
3448
3513
364
374
382
3923
405
4119
429
432
4411
4534
465
4711
4818
493
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences192
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs275
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences250
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1428
adjectiveStacks0
stackExamples(empty)
adverbCount53
adverbRatio0.03711484593837535
lyAdverbCount6
lyAdverbRatio0.004201680672268907
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences250
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences250
mean7.8
std5.81
cv0.745
sampleLengths
024
125
220
39
43
57
616
73
85
914
1033
115
126
134
143
151
1616
174
184
1911
2011
2110
223
234
244
257
267
2716
283
294
3022
319
3212
334
344
3511
363
373
3810
3929
406
4115
425
4320
4411
4514
4613
476
484
494
43.60% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.26
totalSentences250
uniqueOpeners65
47.62% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences140
matches
0"Instead, she held still."
1"Then he had shoved her"
ratio0.014
85.71% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount47
totalSentences140
matches
0"She jammed her shoulder into"
1"His hand withdrew on its"
2"He stood in the corridor"
3"He looked her over with"
4"His gaze caught on her"
5"His heterochromatic eyes held hers,"
6"He did not blink."
7"He did not plead."
8"He simply waited, as if"
9"He leaned closer, and the"
10"His cane tip clicked once"
11"It filled with all the"
12"He had not run with"
13"He moved like he had"
14"His shoes avoided the scattered"
15"His cane stayed close, angled"
16"He tipped his head."
17"He reached out and lifted"
18"He raised one eyebrow."
19"It made him look amused,"
ratio0.336
2.86% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount128
totalSentences140
matches
0"The third deadbolt clacked open"
1"A pale hand slid into"
2"Lucien Moreau said, as if"
3"She jammed her shoulder into"
4"The chain bit."
5"His hand withdrew on its"
6"He stood in the corridor"
7"He looked her over with"
8"His gaze caught on her"
9"His heterochromatic eyes held hers,"
10"He did not blink."
11"He did not plead."
12"He simply waited, as if"
13"Ptolemy padded up behind her"
14"The cat’s tabby tail puffed"
15"Lucien’s nostrils flared."
16"Aurora tightened her grip on"
17"He leaned closer, and the"
18"His cane tip clicked once"
19"A pause stretched."
ratio0.914
35.71% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences140
matches
0"Because it sounded like ownership,"
ratio0.007
91.84% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences56
technicalSentenceCount4
matches
0"His gaze caught on her left wrist where the chain had pressed the skin above the small crescent scar, and something in his expression shifted, a flicker that di…"
1"That tiny intimacy made her skin prickle, as if he had touched without permission."
2"A flash of movement, her own hands slick with blood, Lucien pressing the cloth into her palm and wrapping her wrist with a pressure that bordered on tenderness."
3"Aurora’s face heated, anger and something else, something that came too close to shame."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags44
uselessAdditionCount2
matches
0"Lucien Moreau said, as if he had left her a message and she had taken her time returning it"
1"she said, quietly"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags44
fancyCount3
fancyTags
0"he murmured (murmur)"
1"she corrected (correct)"
2"she snapped (snap)"
dialogueSentences102
tagDensity0.431
leniency0.863
rawRatio0.068
effectiveRatio0.059
82.6974%